This kind of music has done more to advance the cause of Nordic awareness than all the books written about this topic. It values ancient songs and themes and at the same time can compete with shallow mainstream music, which is dominated by minorities.

Heavy metal music has been strongly associated with devil-worship and a fetish for all things ‘evil’, but since the 1990s a new current has risen from the North. Scandinavia, particularly Norway, is the cradle of the most extreme form of metal called Black Metal. Black Metal in turn has given birth to the phenomenon of Viking metal. This moniker is not only a testament to its Scandinavian roots but also for its overtly Germanic themes.

The first band to herald the age of Viking metal was the Swedish band Bathory (1983–2004) with its release of the album Hammerheart in 1990. It was musically a departure from the raw Thrash metal and adopted a more epic/atmospheric sound. The lyrics (in English) were about Vikings and Nordic mythology. The following video, ”One Rode to Asa Bay,” has nearly 2.4 million views on You Tube.

Dragos Kalajic,one of the most significant artists and visionaries in European culture
of the last quarter of the XX century. "You will renew the Roman Idea"
baron Julius Evola said, looking him in the eyes.

Editor's opinion: 70's metal / rock icon Richie Blackmore of "Rainbow" (paired with singer Ronnie James Dio), was dabbling in mystical imagery and prophetic nuances, themes suitable for a rapidly changing social discourse in America. Mr. Blackmore is still at it, only now his new band Blackmore's Night appears to be tapping into an old world consciousness, didactically promoting the possibility of an implicit identity being resurrected. Note the performers and the themes in the video. The lyrics are below the fold. -- Ed.

His pictures cost upwards of £900, there are 680 people on a waiting
list to buy them, and his second exhibition sold out in 14 minutes. Meet the gifted artist Kieron Williamson, aged seven.

[snip]

Like many great artists, small boys are not often renowned for their
loquaciousness. While Kieron Williamson is a very normal seven-year-old
who uses his words sparingly, what slowly emerges on the small
rectangle of paper in his kitchen is extraordinarily eloquent.

This
month, Kieron's second exhibition in a gallery in his home town of
Holt, Norfolk, sold out in 14 minutes. The sale of 16 new paintings
swelled his bank account by £18,200. There are now 680 people on a
waiting list for a Kieron original. Art lovers have driven from London
to buy his work. Agents buzz around the town. People offer to buy his
schoolbooks. The starting price for a simple pastel picture like the
one Kieron is sketching? £900.

Intent on shaking up the ultimate sacred cow for Jews, Israeli
director Yoav Shamir embarks on a provocative - and at times irreverent
- quest to answer the question, What is anti-Semitism today? Does it
remain a dangerous and immediate threat? Or is it a scare tactic used
by right-wing Zionists to discredit their critics?

The Atlantic Recording Company's history strangely parallels the Jewish-American elite's cultural revolution after World War II. This elite promoted Frankfurt School teaching in a effort to weaken the middle classes — their political nemesis. Atlantic Records prides itself on plugging the same socially destructive behavior.

This article explores a possible connection between Theodor Adorno and Atlantic Records. The connection: An unnamed German professor helped Atlantic Records devise its signature sound in 1947. When this professor could no longer work with Atlantic, he was replaced by a research assistant from the Manhattan Project. I argue that this professor was Theodor Adorno.

The significance of this connection is that Atlantic Records was one of the most influential recording companies during the sexual revolution, the Civil Rights movement, and era of immigration reform. A connection with Adorno would suggest that the company at its origins was intent on tapping the expertise of one of the greatest propagandists of the 20th century.

Based closely on the outstanding 1999 novel that won J.M. Coetzee the Nobel Prize in Literature, the new art house film Disgrace follows August’s District 9 in portraying the ever-growing Afrikaner diaspora’s dire view of black-ruled South Africa. While most reviewers of District 9 were too obtuse to figure out what Neill Blomkamp’s sci-fi movie was about, the portrayal of the fate of South Africa’s white farmers in Disgrace is too starkly horrifying for even journalists to ignore.

Disgrace won’t come within an order of magnitude of District 9’s $114 million at the U.S. box office. It is the despairing antithesis of Taken, the surprise 2009 hit ($145 million) in which mighty Liam Neeson lays waste to half of Paris to rescue his virgin daughter from Muslim pimps. In Disgrace, however, effete John Malkovich (best known for, well, Being John Malkovich) portrays an ineffectual intellectual who fails to save his daughter from being gang-raped by newly liberated blacks.

I’ve read only one other Coetzee novel, 1980’s Waiting for the Barbarians, a conventional anti-apartheid allegory about the moral costs of imperialism. In Disgrace, however, the barbarians have finally arrived, and with a vengeance.

Having listened to country music on and (mostly) off since Johnny Cash’s “A Boy Named Sue” four decades ago, I checked in on Billboard’s Top 30 Country chart to see if anything was new.

A possible advantage about not knowing much about what I’m talking about when it comes to music is a certain ability to see the forest through the trees.

From that 30,000-foot perspective, the answer to what’s new in country turned out to be (as with most genres of popular music in the last couple of decades): not much.

Indeed, what seems odd for an old fogey like me is how much a country radio station these days sounds like a mainstream old FM rock station.

Rock music, from its emergence in the 1950s until the rise of punk in the late 1970s, was primarily an Afro-Anglo-Celtic mélange, heavy on blues and twang. The British Invaders, for example, wanted to sound like they were from Elvis’s hometown, Memphis. Northern California bands like Creedence Clearwater Revival claimed to be “born on the bayou,” and Topanga Canyon singer-songwriters, such as The Eagles, were fundamentally country. Explicitly regional bands such as Lynyrd Skynyrd of Alabama and ZZ Top of Texas were huge.

Filippo Marinetti is unlike most of the post-nineteenth Century cultural avant-garde who were rebelling against the spirit of several centuries of liberalism, rationalism, the rise of the democratic mass, industrialism, and the rule of the moneyed elite. His revolt against the leveling impact of the democratic era was not to hark back to certain perceived "golden ages" such as the medieval eras upheld by Yeats and Evola, or to reject technology in favor of a return to rural life, as advocated by Henry Williamson and Knut Hamsun. To the contrary, Marinetti embraced the new facts of technology, the machine, speed, and dynamic energy, in a movement called Futurism.

The futurist response to the facts of the new age is therefore a quite unique reaction from the anti-liberal literati and artists and one that continues to influence certain aspects of industrial and post-industrial sub cultures. An example of a contemporary cultural movement paralleling Futurists is New Slovenian Art, which like futurism embodies music, graphic arts, architecture, and drama. It is a movement whose influence is felt beyond the borders of Slovenia. The best-known manifestation of this art form is the industrial music group Laibach.

In today's world, cell phones, pagers, iPods, computers, video games, and the like are as common a part of life as food and sleep. For the most part, these things are a distraction, and in case of video games, an outright form of escapism comparable to drug addiction.

Today's youth are especially preoccupied with video games, spending countless hours working with other gamers worldwide on quests to destroy goblins and liberate office buildings from zombie infestations; this time could be better used for homework, personal study, exercise, or productive hobbies.

Video games have become such an integral part of young people's lives that they have even led to fatalities among dedicated gamers. One woman essentially drowned herself in a contest to win a Nintendo Wii for her children by drinking gallons of water and holding in her urine (whoever held it the longest would win).

In another legendary incident, a man killed himself because his character in a particular game was accidentally deleted. (For those of you who are unfamiliar with the dynamics of video games, players are able to save their progress onto a "memory card" at a given time during the main quest and return to it later.)

But what if there were a video game that had an educational significance, and a racial one at that? What if there were a video game that subliminally opened the player up to issues of race, politics, and culture? I believe I have found just such a game, as I myself have enjoyed it for many hours at a time over the last few years (I'm in my early twenties, so give me a break) and have had a chance to dissect its contents. It is not a single game exactly, but rather a series: The Elder Scrolls (TES).

A disproportionate amount of Europeans who convert to Islam are neo-Nazis or Communists.I have had some interesting discussions with my good friend Ohmyrus,
who is an ethnic Chinese man but appreciates some aspects of Western
civilization that many Westerners themselves appear to have forgotten,
or rejected. He is not unique in this regard. One of the best books
about European culture published in recent years is Defending the West,
written by the former Muslim Ibn Warraq who was born in the Indian
subcontinent, not in the Western world. Essentially, according to
modern Multiculturalism, every culture has the right to exist – except
the Western one. The Iranian-born ex-Muslim Ali Sina denounces
Multiculturalism for precisely this reason in his bookUnderstanding Muhammad, which I have reviewed online:

“If any culture needs to be preserved, it is the
Western, Helleno-Christian culture. It is this culture that is facing
extinction. It is to this culture alone that we owe the Enlightenment,
Renaissance, and democracy. These are the foundations of our modern
world. It would be a terrible mistake not to preserve this culture.

As illustrated by Kevin MacDonald's excellent trilogy exploring group evolutionary behavior, the Jewish people has developed a number of evolutionary strategies to keep their bloodlines pure in spite of spending thousands of years in diaspora. As the American descendants of the European diaspora will soon be outnumbered, a close examination of the adaptability of these evolutionary strategies for our own purposes is warranted.

If you want to see what sort of movies are made for explicitly Jewish film festivals, rather than for general consumption, watch "The Tollbooth" (2004), with Marla Sokoloff as the just-graduated Jewish girl from Brooklyn Sarabeth Cohen (whose name is a combination of the names of two aunts who perished in the Holocaust), and her Irish-American boyfriend Simon Stanton from Pennsylvania played by Rob McElhenney. McElhenney as the lone non-Jew in the movie, aside from a short scene in Pennsylvania, is cast as the moral dilemma for a Jewish heroine torn between true love, and loyalty to her family and tribe and ultimately a reverence for the Holocaust surpassing religion.

Andrew Wyeth, best-loved painter of wistfulness, rural bleakness,
menace, Puritanical solitude and an America lost to 20th-century dry
rot, died yesterday morning in his sleep at the Wyeth family estate in
Chadds Ford, Pa., between Philadelphia and Wilmington, Del. He was 91.
He died in just the sort of weather he loved, the empty cold and the
sharp sunlight of the dead of winter.

"America's best-known and best-loved artist," said a catalogue for a
1996 show at the Baltimore Museum of Art, before it elevated him still
higher: "America's artist."

At a White House dinner in 1970, Richard Nixon toasted Wyeth as an
artist who "caught the heart of America." Critic Jay Jacobs once called
him "the spiritual leader of Middle America."

As such, he took a beating from critics who attacked him as morbid,
mawkish and a "Martha Stewart existentialist." He made it easy for them
with his morbid coyness, and his attempts to claim credentials as the
sort of abstractionist they admired.

In December of 1981, Britney J. Spears came into this world in the deep southern state of Mississippi to working class professional parents. In what seemed like a realization of the American dream, she appeared on Star Search in 1992 when she was only 11 years old and later joined the New Mickey Mouse Club with future boyfriend Justin Timberlake and fellow diva Christina Aguilera. Jive Records picked up her demo tape when she was 16 and only a year later, she was singing "hit me baby one more time" dressed in a suggestively redesigned Catholic schoolgirl uniform in the halls of the same high school where the classic American musical Grease was filmed.

After selling 76 million albums around the world, starring in her own feature film, and gracing the cover of hundreds of magazines, her career collapsed at the ripe old age of 23. A few months ago I sat and stared in bewilderment from behind my computer screen as Spears, two marriages and two children later, opened her legs to the paparazzi while giving them the "thumbs up" during a night on the town with Paris Hilton.

Then it occurred to me that the rise and fall of Britney Spears revealed the fundamental problems with American consumerism, from her contradictory roots as a Christian conservative, to her bubblegum sexuality, all the way down to the implosion of her personal life. The pursuit of profit and the reduction of all value to performance in the marketplace has characterized our lives since the late 1950s, but my generation was the first to be baptized in the total submersion of this culture.